King Lear(Juri Jarvet), sensing the end is near with his failing faculties, decides to divide his kingdom between his three daughters in order to avert war. But first they must tell him how much they love him. His two eldest daughters Goneril(Elza Radzina) and Regan(Galina Volchek) lay it on a little thick while the youngest, Cordelia(Valentina Shendrikova), does not kiss up to the old man. In response, she is disowned while the Duke of Kent(Vladimir Yemelyanov) is exiled when he protests too much. Despite this, the King of France(Juozas Budraitis) still agrees to marry her. As Lear is about to go walkabout with his fool(Oleg Dal), Gloucester's(Karlis Sebris) illegitimate son Edmund(Regimantas Adomaitis) is starting to plot...
This version of Shakespeare's tragedy about filial love comes to life with its black and white cinematography and fiery performances. As deliberate as the movie starts, it ends with a full crescendo of heartbreak and action, played to the hilt. In the end, the question remains whether or not it had to conclude this way.

King Lear(Juri Jarvet), sensing the end is near with his failing faculties, decides to divide his kingdom between his three daughters in order to avert war. But first they must tell him how much they love him. His two eldest daughters Goneril(Elza Radzina) and Regan(Galina Volchek) lay it on a little thick while the youngest, Cordelia(Valentina Shendrikova), does not kiss up to the old man. In response, she is disowned while the Duke of Kent(Vladimir Yemelyanov) is exiled when he protests too much. Despite this, the King of France(Juozas Budraitis) still agrees to marry her. As Lear is about to go walkabout with his fool(Oleg Dal), Gloucester's(Karlis Sebris) illegitimate son Edmund(Regimantas Adomaitis) is starting to plot...
This version of Shakespeare's tragedy about filial love comes to life with its black and white cinematography and fiery performances. As deliberate as the movie starts, it ends with a full crescendo of heartbreak and action, played to the hilt. In the end, the question remains whether or not it had to conclude this way.

An interesting take on an earlier version of "Parents Just Don't Understand" by the original Will S. The various constraints inherent to this piece (those of the era in which its written, as well as that in which its filmed and, likely, a few others) keep me from enjoying it as thoroughly as I'd like. Nor however (thanks in large part to the more talented members of this cast) is the film entirely devoid of moments which seem more genuine.

An interesting take on an earlier version of "Parents Just Don't Understand" by the original Will S. The various constraints inherent to this piece (those of the era in which its written, as well as that in which its filmed and, likely, a few others) keep me from enjoying it as thoroughly as I'd like. Nor however (thanks in large part to the more talented members of this cast) is the film entirely devoid of moments which seem more genuine.

The Russian mastery of ponderously melancholy, existential desperation and unremitting despair is impressive in the catalogue of human cultures...their take on King Lear is thus appropriately shrouded and kissed all over by Death. I'm actually a little surprised I didn't kill myself after/while seeing this, but then, I've perhaps been inoculated by being a Prokofiev fan. Just a hunch.

The Russian mastery of ponderously melancholy, existential desperation and unremitting despair is impressive in the catalogue of human cultures...their take on King Lear is thus appropriately shrouded and kissed all over by Death. I'm actually a little surprised I didn't kill myself after/while seeing this, but then, I've perhaps been inoculated by being a Prokofiev fan. Just a hunch.

It should come as no surprise that the Soviet Union produced the greatest adaptations of Shakespeare, because the best understanding of human nature and humanism (and liberalism and capitalism) is Marxist/communist.

It should come as no surprise that the Soviet Union produced the greatest adaptations of Shakespeare, because the best understanding of human nature and humanism (and liberalism and capitalism) is Marxist/communist.